Billy The Kid X 2-Tone Malone
2 THA BONE
You, walking down an aisle you’ve passed multiple times, holding onto a cart with bloody, bared knuckles and a resiliently gripped force, begin to feel something for the first time since coming aboard. Later, while chain smoking with your fucking stablemates, all your collective fumes ripping upwards towards an unattainable sky, you begin to finally hear something. Order. Sense.
Then, back to normal.
Pain is intensified by longevity. The world unwittingly revolves while spiders get spit on. Gross misuse of conduct. Leaves and coral trampled upon, all the same. Chimneys puffing stacks of tarnished age. Soiled sheets and dumb forethought. Network dynasty.
It all unfolds before your eyes, 2 THA BONE.
• Billy The Kid: https://soundcloud.com/williamdthe3rd
• 2-Tone Malone: cant find shit on him… NEED HELP!!!
Sweat Tongue offers us “Cold Finger,” the theme song to the 700th 007 film… As I imagine it, in 007’s last venture, Loose Stiffs Sink Ships, or Dust to Dust or Bust, or Skene’s Gland, Bond is a stiff, a lucky stiff… he’s buried in a graveyard, his license permanently revoked. Bond’s bones become fallen branches, a breeze lifts his branches up, and he scrapes the top of his coffin. Fade to black.
And, when the film fades to black, it fades to black from black, for the screen had remained dark, as dark the movie theater, throughout the entire picture, running time 131 minutes, while ushers, using branches and briars that they found on their ways to work, attacked the audience at the ankles. The audience’s screams score collective chaos.
Now, I think Shirley Bassey is to die for, but I don’t find “Cold Finger” a bit sacrilegious. And I find nothing wrong with rooting around in the lower chakras — or scraping my coffin with branches in the dark. Furthermore, folks who long to break out of their cages are failing to appreciate the fun in throwing their bodies into orbit around their cells, crashing against their cage walls while screaming at the top of their lungs. Charlton Heston: gritting his teeth, damning the world, monkeying around, never realizing how good he had it in that cage of his.
• Sweat Tongue: http://sweattongue.hotglue.me
Is that the sound of a transmission trying to break through static or of static struggling to maintain itself? Are we coming into or out of frequency range? Is “Black” the combination of all colors or the lack thereof? Is there order to be found in chaos, or is entropy even in charge Of Deconstruction? Are we fighting for all or for naught? Is there anything but everything?
If listening to the premiere of Black Spirituals’ new song “Black” leaves you with more questions than answers, that’s good — it’s always important to ask, and especially so right now. We don’t have all the answers, but here are a few things we do know. Black Spirituals is an improvisational collaboration between noise composer/sound artist Zachary James Watkins and social activist/free jazz percussionist Marshall Trammell. The duo has completed several projects and countless live performances over the past few years. Their debut album, Of Deconstruction, was released September 3 on cassette, and as we reported last week, it will be available on LP, CD, and digitally on October 21 via SIGE Records (pre-order here). Written out, the tracklist reads: “Radiant Black Body.”
[Photo: Lenny Gonzalez]
A cute little computer is making some cute little music in Seattle! The cute little computer belongs to producer KLSLWSK of Manicure Records. The decidedly lo-fi “Drips” feels as nuanced as work by those other bubbly producers (SOPHIE, A. G. Cook, etc.), but it feels a little less calculated and slightly more spontaneous. If it were a video game character, it would be Kirby, floating indirectly in an upwards diagonal across the screen. It’s nice to see the door being opened by the growing popularity of PC Music for other like-minded producers. As the audience grows, so does the variety. KLSLWSK maintains a high BPM without letting “Drips” fly into mania. The bubble never pops, but keeps rising; the energy is direct, but it’s never exactly a straight line. I’m psyched to watch what comes out of Manicure Records in the near future: lots of soulful vocals, lots of bubbles, and most importantly, lots of danceable beats seem imminent.
It seems like this probably happens a lot, so no, this isn’t FKA Twigs. (It’s sort of shocking how she’s really taken over this acronym. It probably wasn’t intentional, but she’s turned a form into content for better or for worse). “FKA Anthem” is a little Night Slugs-style club, a little deep house, a little grime, and according to FKA Deji, probably the last track he’ll make as FKA Deji. Ending a project with an anthem seems renegade, since we associate anthems as being something that is the start, or at least something that repeats, but it actually makes sense to end with one. The track collages many different elements that exist in FKA Deji’s past work, but it seems complete rather than fragmented. I love how the “FKA” vocal is both part of the song and a name drop. It seems like the perfect way to end a DJ project. But don’t think this is the end of FKA Deji! (He included the word “probably”…) The track isn’t even released yet, but will be out soon via Pineal Sounds.
• FKA Deji: https://soundcloud.com/deji